It is undeniable that all great filmmakers initially cut their teeth on short films. From Nolan to Scorsese and Anderson to Bigelow, all refined their craft with short-form cinema before moving to feature films. Today, festivals and online platforms mean that short films have an even wider audience than ever before.
The Pink Lens has covered hundreds of short films over the years, but in the second of our short film features, we put one under the spotlight, to look at its form, origins and the process of bringing it to the screen.
SISTER WIVES (UK)
Starring: Mia McKenna-Bruce, Louisa Connolly-Burnham, Michael Fox
Director: Louisa Connolly-Burnham
UK Distribution: Available to stream on 4OD
The Pink Lens' Review:
"Kaidence and Jeremiah live in solitude on a rural farmstead. Part of a religious sect, they shun the trappings of the modern world in favour of a simple life of self-sufficiency. When Jeremiah announces that he is taking a second wife, Kaidence is initially hurt and territorial as her sister wife, Galilee, moves into the house. But as they learn to live with on another, a bond forms between the women that is far deeper than the one with their husband. A fascinating peek behind the curtain onto nonconformist life, this is a patriarchal household, where the rules are made and enforced by the husband. The short really gets the wind in its sails when he is absent and the wives become girls once more, playing games, gossiping and having fun, just as they would if they lived outside. A well-written short that contrasts puritanical composure with the joyous freedom of newfound love, this is a compelling romance that hits all the right notes, shot with the bleak and earthy palate of winter in the countryside."
Having seen this short recently, we got the chance to talk to its director and star, Louisa Connolly-Burnham, about the process of bringing this story to life.
Where did the idea for Sister Wives come from?
I think there's something about cults that just fascinates women. Last year, I watched this incredible documentary called Keep Sweet, Pray And Obey, created by an all-female filmmaking team, and it was honestly amazing. It dives into the world of the FLDS, a strict polygamous Mormon sect in Utah where men have multiple wives. The women dress in these pastel, prairie- style dresses, never cut their hair, and look like they’re from the Victorian era.
I was shocked that no one had explored this on film before, given how unique and visually striking this community is. It made me start wondering how these men even manage to keep up with all their wives and what might happen if the wives began turning to each other for the affection they weren’t getting from their husbands.
The film could have been set during any period within the last three centuries; why did you decide to set it during the present day?
The story is actually set in 2003—a time that feels incredibly nostalgic, vivid, and real to me since I was a teenager then. I wanted to capture that era when the Nokia 3310 was iconic, text messaging was still novel, and social media didn’t exist yet in the way we know it. There’s something about the early 2000s that’s both familiar and just distant enough to feel almost surreal; it was a time of big shifts in technology and culture, yet so many social norms were still firmly in place.
It’s also important to remember that in 2003, gay marriage was still illegal in many parts of the United States, which adds a layer of tension to the story. For these women, falling in love with each other would have serious consequences both within their closed community and in the world beyond it. There was little societal support for same-sex relationships, especially in conservative or religious circles, which makes their story even more impactful. Setting the film in this period adds a sense of urgency and risk to their love, as they navigate a world that’s not only resistant but actively hostile to it, both inside and outside their community.
Coming hot on the heels of Women Talking, did that film have any influence over your short?
Oh absolutely. I loved that film. Both films dive into some pretty heavy themes about women finding their voice, gaining independence, and standing up against strict patriarchal religious communities. Even though each movie tells its own story in a unique way, they have a lot in common when it comes to focusing on the inner lives of women, their relationships, and the struggle for freedom in environments that heavily control their choices, especially regarding love and sexuality.
In both stories, the relationships between the women are at the heart of their journeys. Their solidarity becomes a powerful force that helps them transform their lives. By confiding in each other, they start to imagine possibilities beyond the limits placed on them. These films show that when women find the space to speak up, ask questions, and connect with one another, they can discover strength, hope, and even a sense of freedom, despite the heavy expectations of the cultures they’re part of.
What about Shyamalan’s The Village?
Hell yes. That twist. Total inspo.
Sister Wives puts organised religion as diametrically opposed to sexual liberation. Do you believe this to be the case?
The relationship between organised religion and sexual liberation is pretty complicated and varies a lot depending on the specific religion, culture, and individual beliefs. While Sister Wives might show organised religion as totally opposed to sexual freedom, it’s not necessarily the case for all religions or religious communities.
A lot of traditional religious institutions do promote certain beliefs around sexuality—things like celibacy, monogamy, and marriage within specific guidelines—that can feel restrictive. This can seem at odds with today’s ideas of sexual liberation, which are more about personal freedom and autonomy. But not all religious communities hold the same views; some have become more open and are finding ways to blend spiritual beliefs with a more modern approach to sexuality.
So, while Sister Wives explores one perspective, it’s ultimately just one take on the topic, shaped by the film’s themes and storyline. Religion and sexuality intersect in all kinds of ways, with lots of ongoing debates and a wide range of views both inside and outside religious communities.
What are your next projects? Do you have any exciting films in the pipeline?
I’m thrilled to announce that we’re turning Sister Wives into a feature film! Stay tuned for updates— you won’t want to miss it!
Trailer:
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